Issue link: https://digital.copcomm.com/i/1539634
suggesting a Jugend-style wallpaper for the library. He liked that it subtly echoed Rorschach inkblots—a fitting link to Sissel's later use of the room as her therapy office. In the present timeline, the house shifted from the crowded stillness of the funeral reception, to Agnes methodically packing it down after her mother's death—moving through all the objects of sentimental value that Nora neither cared about nor was able to confront. Eventually, Gustav took over the stripped-down space for his preproduction, its emptiness echoing the loneliness of Nora's apartment. Apart from creating the family home across time, Nora's theatre world became a major task for us. The Art Department had to design two stage plays for the National Theatre's main stage in Oslo. For the first play that opens the film, we explored different possibilities before Art Director Marius Winje Brustad discovered Pedersdotter, about witch burning. Its monochrome stage design— tall burnt ladders forming a bonfire, suspended coal frozen in midair—gave us a striking visual metaphor, one that could also be rigged up and down repeatedly as the shoot required. In the end, the set of the house—which also served as Gustav's own film set in the final sequence—was built on a 60cm-high platform. Practically, this allowed us to extend the view to the LED screens without revealing the studio floor. But it also gave the space the quality of a stage. In the last shot, Gustav and Nora reconcile there: Gustav, who had never shown much interest in or respect for Nora's theatre and television work, now steps up onto her stage and stands with her. What began as a technical solution for virtual production became, in the end, a poetic gesture—a stage for reconciliation. ADG Jørgen Stangebye Larsen, Production Designer Marius Winje Brustad, Mirjam Veske, Art Directors Øyvind Langdalen, Set Designer Robin Mientjes, Graphic Designer Catrine Gormsen, Set Decorator D E F